NUNC, a company that lives theatre

NUNC creates a new cosmos

A place seemingly familiar but with its own laws and rules

NUNC wants to console and give beauty

By its characters

By its language

Theatre of bowing and crashing

From give it alland I will give nothingin return

From the small and the huge, from a lot and lots more

From the smallest candle to the

Fires of hell.

What? How? When?

NUNC was founded in 2004 and has since then worked progressively on its oeuvre. By focussing on creations, where the relation between historic figures and actual themes is essential, NUNC has found its place in the rich Belgian theatre soil.

NUNC re-writes history in order to create a new story, based upon ancient realities we create a world in which we can speak freely and unbound by actual reality or historic truth.

History is the base, the inspiration. The result is a play where physical and aesthetics meet in a newly written text.

The actor, the word and the story are our means.

NUNC’s creations try to get under the skin. We don’t judge but try to understand the lonesome and the voiceless, how rich or poor they may be. Therefore we re-create heroes and antiheroes. They console our contemporary audiences.

We search for the greatness in the vagabond, the smallness in the king.

The point they both meet each other is where we start telling our story.

NUNC isn’t blind in this fast moving world; we feel the need to speak out on today’s matters by using our own unique means. We share our thoughts but stay away from the concrete by using historical protagonists. In that way, we create anew world, with new rules and ethics. By doing so we create that unique world, where everyman has a new chance of winning the odds, of changing fate.

NUNC is a small company, the intensity of our work isn’t served with a big house. The writing table, the workspace and the audience are all closely linked. We try to be as fast as possible but sometimes that needs time. Therefore NUNC is small in size but not in thought or creation.


NUNC on Tour:

At this point NUNC is ready to tour internationally, as with the creation we wanted to take time for this step. We have chosen some of our creations that are universal in their story but very particular in their outcome.

That makes them, we believe, fitted for new audiences.

NUNC can tour with the Borgia Clan, Erratic and Raisonnez.


The Borgia Clan


A play based upon the cruel and intense Borgia family. Rodrigo Borgia became pope in 1492 and together with his family he layed the base for ten destructive years.

Forget Jeremy Irons as Rodrigo Borgia, the real Borgia pope looks like the one in The Borgia Clan, an ambitious creation that stands as … the Vatican.

The beautiful text of Van Tourhout, based upon intense research and enhanced with daring artistic creation, is a true asset for the Flemish theatre. (Cobra)

NUNS started this trilogy in 2008 and finishes it in 2014. Every two years we created a new part and thus we will present the whole trilogy as one performance.

What attracts us in the Borgia is not only their famous and gruesome actions but the will to change the world, despite the offers and the sacrifices.

As we found out in the Secret Archives in Rome the Borgia focussed mainly on retrieving power by mariages, murder and nepotism. The Borgia became an example of “How not to live” because they did everything god forbade, and that in the Vatican

In a strange way they became hero-like. But the Borgia way of life isn’t exclusively bound to Italian Renaissance and they’re actions can still be seen today. The resemblance with today’s world was the main reason we started this trilogy: the childish impatience, the lack of responsibility and the “don’t care, don’t ask” attitude in todays social, political and economical arena’s.

We choose to portray the Borgia family as a family filled with joy and humour. A world filled with parties and so called fun. Slowly this degrades into a dangerous routine where fun and booze are needed to hide the real distrust, the true fear and terror.

The Clan falls deeper and deeper through murder, rape and the constant need to cover up. As audience we admire and love how Rodrigo fools the king of France, how he always finds a trick to get away. But on the other hand we must judge his actions. This discord goes on the whole trilogy, we love the monster and we hate it.

In The Borgia Clan, NUNC plays with the admiration for a hero that is a monster.



As horny as a Pope – a new classic tragedy has been written. NUNC director Benjamin Van Tourhout dipped his pen in enlarged blood en wrote practically a Shakespearian tragedy. (De Morgen)
Van Tourhout pushes his text and players into Shakespearian tragic. With grotesque, which shows the drifting instincts of the characters, which shows the dark corners of the Borgia Clan. (De Standaard)
With a breath taking opening Lucrezia tries, lonely and pregnant of her father, tries to survive. The biggest asset remains the writing of Van Tourhout. His unique idiom links the heavenly and vulgar. And in this stream of historical drama he doesn’t forget any emotional subtlety. The text tumbles and jests, it scratches and carves. NUNC shows that the Borgia Clan want what we all want: live, to be loved and be free.
The characters are ready for the slaughter because nobody can escape his family. (De Morgen)
Sizzling theatre carefully crafted and directed with joie de vivre.
Rodrigo Borgia (played by Dries Vanhegen) with swung and tenderness shows us the beast and the doubting man he is. Hopping from left to right but above all from slapstick to tragic. This lascivious line between tragic and humour is inherent on the dashingpen of Van Tourhout. He plays with language and sound as he plays with emotions and characters. He creates solid, iconic, stories where he can portray the helpless, the monstrous, the greedy and vulnerable of contemporary mankind. (KNACK)

Borgia Pictures, slideshow or visit here.




With Erratic NUNC tells the story of two sisters who lost their father in a fire one new-years eve. They get separated and try to survive in their new homes. With new fathers, new brothers, and new lonely worlds.

The one truly believes that the fire was an accident, an innocent occurring without any one to blame. While the others sister chooses to believe that their father hated them so much that he’d rather kill them all than.

Both of them make up the past in order to live today. They lie and cheat to cope with the loss of their childhood.

They have to choose: follow in their father’s footsteps or reject him.

Because of the traumatic fire they don’t trust society and therefore build one in their head. And those two clash.

NUNC shows a portrait of two young women in search of the truth and each other. A seemingly simple fait divers becomes an universal story about fatherhood, about coping with the past and finding the will to go on.

NUNC created an intimate play build upon a series of scenes. Slices of life shown in a non-chronologically order gives us the chance to explore themes like solitude, coping and love.

A world where words can be a lie, a cry for help, a fight for the truth.



With subtle light and refined choreography these two players show the grief and sadness of their souls, with full enthusiasm and surrender
The great merit goes to author/director Van Tourhout , who after the last NUNC pearl, Raisonnez, once again succeeded in creating a piece, that with great psychological sense and a raw poetical language, is able to ask the big questions of guilt and forgiveness.
(De Morgen)                                     
The dialogues and direction of Van Tourhout are filled with the sounds, words and lies of these two traumatized sisters. They try to escape their past but never succeed. De Veirman en Roels are magnificent to see. In the variety of scenes, based on the theme of loss, they’re not only playing for us, they hack in our heart. They give us genuine art.


Pictures Erratic or picture slideshow.




A play freely inspired on the cruel acts of the French noblemen Gilles De Rais.

As a hero he stood side by side with the famous Jeanne d’Arc during the war against the English in the middle ages. As a zero he stood in the court being accused of the cruel slaughter of over 700 children.

Raisonnez is music-theatre where a group of seven children acts as choir, tribunal and narrators.

Between his hero like wars against the English and his trial ten years later there’s a gap in the archives. NUNC filled that gap with a story that tries to answer the why and how of the cruel slaughter of over 700 children in France.

We assumed that Gilles de Rais was madly in love with Jeanne d’Arc. That he admired her strength, courage and love for the country and God. De Rais starts seeing Jeanne d’Arc as an angel. An angel that was sacrificed once the war was won. (Jeanne d’Arc was burned as a witch on the marketplace in Rouen.)


We created a story based upon this assumption.  We saw de Rais as madly in love, sad and fully aware that no one could ever bring Jeanne d’Arc back to the living.

The main character in Raisonnez, leaves everything behind, walks endless nights through empty corridors. And one day, almost by accident, de Rais shoots a four year old. When he sees the huge response, the anger and the sadness of the surrounding people he knows that their pain comes closely to his own itching heart. There the perverse idea germinates.

At this point the main character starts killing not only out of revenge but also as consoling act. Without time to reflect de Rais leaves a bloody trail in his on going massacre.

Van Tourhout won the Prize for Playwright of East-Flanders for Raisonnez.



Raisonnez is rousing music theatre. The text is written sharp and witty with a bittersweet taste on the tongue of the actors. Actress Leen De Veirman, both as king and butcher, confronts the audience with stringent timing, which results in visual and musicalpearls. Raisonnez recreates the atmosphere of the grim Goya. (De Morgen)
With Raisonnez, NUNC shows that it isn’t afraid of taking risks. They fully engage in the confrontation of words, acting and music. Van Tourhout seeks new ways to express and create, not by copying others but as an trailmaker. He transposes horror into a-capella music and the acting never is realistic but always remains alienating. (TheatreMaggezien)




More info about NUNC